artists

Rosalind Nashashibi

1973, Croydon, UK
Lives in London, UK

The Prisoner, 2008
16 mm film loop played through two projectors, 5’

TRENTO

Rosalind Nashashibi’s films, collages and photographs investigate the psychological atmosphere of a given space, exploring coexisting levels of reality, myths and otherworldliness. Her project for Manifesta 7 takes its cue from a sequence in Chantal Akerman’s film La Captive (2000) – adapted from Proust – in which Simon follows his lover Ariane up a long stairway and in and out of shadows. The sound of Ariane’s clicking high heels was inserted at the wrong aural distance, disorienting us by sounding close and insistent while the actress is in the background. Our experience of sexual tension and control-obsession is thus heightened.
Nashashibi’s 16 mm film installation shows a short sequence in which Anna, a woman in high heels, is being followed. This time the camera itself is the pursuer, a character present but not seen, experienced as if from the viewer’s consciousness. One film print loops through two adjacent projectors, so that the same footage is seen on two screens with only as much lag time as is required for the piece of film to travel between the two projectors. The second projection is silent, its images out of sync, like a ghost haunting the sound in delay – a delay rendered mechanical as the film loops through space. Filmic time, made physically tangible, echoes the narrative time on the screens. Anna is imprisoned both within this closed circuit and in the action itself, where we glimpse her hidden complicity with her follower and internalization of its control.

Location

TRENTO

ANSELM FRANKE/HILA PELEG: "THE SOUL (or, Much Trouble in the Transportation of Souls)"

This project proposes to examine today’s Europe not as an expanding geopolitical entity but in regard to the engineering of its psyche or soul. Trento, the city of the historic Council of Trent and of this part of Manifesta 7, provides the immediate background for the project. As an archeology of reversals between inside and outside, self and other, individual and collective, The Soul follows the historical turning-inwards of the expansionist boundaries of European modernity and suggests that the production, mobilization, and representation of the inner self is a final frontier, a last outside.
Here the soul is not understood or treated as fact but as a cultural object, an allegory for social relations shaped by ideas and techniques of power. Much like the “discovery” of a continent, these techniques have produced and invented an entity they declared to map objectively. And yet this entity, the psyche—if only as the difference between material and immaterial, body and mind, object and subject—has never been entirely contained by positivist science. Its properties (emotion, memory, imagination, fantasy, self-consciousness) remain haunted by its own otherness, a minefield of displacements.
It was in Trento that the catholic doctrine of the relation between the soul and representation was articulated some five hundred years ago. And it was here that the rules for Christian confession were expanded to include purely projective, imaginary deeds and thoughts, thus marking an important step in the construction of the modern European self: the policing and self-policing of the interior.
This history unfolds in the exhibition as a set of miniature museums, which sketch possible, alternative, or incomplete histories of the psyche and the soul. These are study displays that investigate the embodiment of power in its affective and cognitive dimensions, experiment with the tradition of the museum, and bring into focus the paradoxes of a “European normality”, the relation between soul and image, nonphonetic pedagogy, structures of feelings, the logic of desires, psychological personality tests, and the history of antipsychiatry.
Next to this series of speculative museums, The Soul brings together recent and specially commissioned works by over thirty artists working in Europe and elsewhere. Some contributions engage with the site of the exhibition and its regional, political, and historical context. Others take the form of “deep” historical research, confronting the mythical contents of European history with the technologies of power and the power of cultural technologies. The entire exhibition is a search for languages capable of identifying and articulating new forms of exclusion and possibilities for reversing forms of social control.
Anselm Franke/Hila Peleg
THE SOUL (or, Much Trouble in the Transportation of Souls)CONTRIBUTORS
Nader Ahriman, Maria Thereza Alves / Jimmie Durham / Michael Taussig, Tamy Ben-Tor, Attila Bruni, Beth Campbell, Fabio Campolongo, Marcus Coates, Peter Coffin, Keren Cytter, Jos De Gruyter / Harald Thys, Massimiliano & Gianluca De Serio, Brigid Doherty, Omer Fast, Peter Friedl, Stefano Graziani, Tom Holert / Claudia Honecker, Karl Holmqvist, Hannah Hurtzig, Joachim Koester, Andree Korpys / Markus Löffler, Kuehn Malvezzi, Daria Martin, Angela Melitopoulos, Xisco Mensua, Valérie Mréjen, Rabih Mroué, Andreas Müller, Sina Najafi / Christopher Turner, Rosalind Nashashibi, Luigi Ontani, Ria Pacquée, Bernd Ribbeck, Pietro Roccasalva, Roee Rosen, Christoph Ruckhäberle, Natascha Sadr Haghighian, Florian Schneider, Eyal Sivan, Josef Strau, Javier Tellez, Althea Thauberger, Anne-Mie Van Kerckhoven, Barbara Visser, Klaus Weber, Eyal Weizman
Texts in Pubblication:Franco Berardi, Brigid Doherty, Tom Holert, Maurizio Lazzarato, Eva Meyer, Avi Pitchon, Renata Salecl, Michael Taussig, Anne-Mie Van Kerckhoven, Eyal Weizman, et al.